Search results for: +Cyanotypes, page 1 | Collections Search Center, Smithsonian Institution

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A.B. Starr Mechanical Engineering Lab Reports

Source:: Work and Industry, Division of, NMAH, SI Search this

Creator:: Gordon, Robert B. Search this; Starr, A.B., 1882-1962 Search this

Names:: Cornell University. Search this; Sibley College of Mechanical Engineering and Mechanic Arts. Search this

Former owner:: Work and Industry, Division of, NMAH, SI Search this

Extent:: 0.3 Cubic feet (1 box)

Type:: Collection descriptions; Archival materials; Laboratory notebooks; Graphs; Cyanotypes

Date:: 1905-1906

Scope and Contents note:: Three volumes of laboratory notes compiled by Starr while a student at Sibley College, Cornell University. The tests written about in the notebooks related to engines, steam, tensile strength of cast iron, lubricants, and other subjects. The notebooks contain notes, charts and graphs, and cyanotypes.

Arrangement:: 1 series.

Biographical/Historical note:: Albert B. Starr graduated from Sibley College in 1907. For a time he was the acting Assistant Postmaster in East Hampton, Connecticut.

Provenance:: Collection donated by Robert B. Gordon, 1991.

Restrictions:: Collection open for research on site by appointment. Unprotected photographs must be handled with gloves.

Rights:: Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:: Steam-engines Search this; Lubrication and lubricants Search this; Steam engineering Search this; Mechanical engineers Search this; Boilers Search this

Genre/Form:: Laboratory notebooks; Graphs; Cyanotypes

Citation:: A.B. Starr Mechanical Engineering Lab Reports, 1905-1906. Archives Center, National Museum of American History.

Identifier:: NMAH.AC.1034

See more items in:: A.B. Starr Mechanical Engineering Lab Reports

Archival Repository:: Archives Center, National Museum of American History

EDAN-URL:: ead_collection:sova-nmah-ac-1034

Boston Water Works Collection

Creator:: Vogel, Robert M. Search this; Boston Water Works. Search this

Extent:: 0.3 Cubic feet (5 Boxes)

Type:: Collection descriptions; Archival materials; Photographs; Later prints

Place:: Boston (Mass.)

Date:: 1895-1932

Summary:: The collection consists of cyanotype and silver gelatin photographs, print negatives, publications, stamps, and a glass plate negative, documenting the Metropolitan Water Works during its construction.

Scope and Contents:: The collection consists of four series. Series 1,Cyanotype photographs and Series 2,Cyanotype photographs contain a total 877 cyanotype photographs.

Series 3, contains 128 silver gelatin photographs, 14 print negatives.

Series 4, contains one glass plate negative, two stamps and two publications.

The material's from 1895 to 1919. The material is arranged by number.

Overall the cyanotype photographs are in good condition while some show signs of water damage. Images depict different installations of the Boston Waterworks system, views of pumping stations being installed and in operation as well as views of water mains. The first publication relates to the Metropolitan District Water supply tunnel from the Ware River to the Wachusett Reservoir and the second publication relates to the Boston Society of Civil Engineers excursion to water supply from the Metropolitan District, October 22, 1932. The stamps were used to label the cyanotype photographs with the name of the collection, date it was received, and the museum division name.

Arrangement:: The Collection is organized into three series.

Series 1: Cyanotype Photographs, 1897-1919

Series 2: Silver Gelatin Photographs, 1896-1921

Series 3: Glass Plate Negative, Stamps, and Publications, 1932

Biographical:: In 1846, the city of Boston established the first municipal water utility in order to maintain and operate the Cochituate Water Works, known as the Boston Water Commissioners. In 1850, the Cochituate Water Board is established.In 1865, the Mystic Water Board was established. In 1875 the Cochituate Water Board and Mystic Water Board merge to create the Boston Water Board. Later in 1895, the Boston Water Board was abolished, which lead to the establishment of the Metropolitan Water Board, resulting in the transfer of maintenances and operations of the Boston Water Board to the Metropolitan Water Board as well as the Spot Pond Water Works of the towns of Melrose, Malden and Medford. The Boston Water Board then became known as the Boston Water Department. In 1901, the Metropolitan Water Board merged with the Board of Metropolitan Sewerage Commissioners to form the Metropolitan Water and Sewerage Board. In 1919, the Metropolitan Park Commission merges with the Metropolitan Water and Sewerage Board to form the Metropolitan District Commission (MDC).

Source

Historical note was provided courtesy of: Sean M. Fisher, Archivist, DCR Archives, Office of Cultural Resources, Bureau of Planning and Resource Protection, MA Department of Conservation and Recreation, 251 Causeway St., Suite 600, Boston, MA 02114-2119

Related Materials:: Commonwealth of Massachusetts State Archives

Metropolitan Water Works photograph collection, 1876-1930 (bulk 1895-1921)

Series includes photographic documentation of the Boston Water Board's construction between 1890 and 1895, representing the Hopkinton Reservoir and Dam, and Sudbury Reservoir and Dam; and the photographic documentation of the Metropolitan Water Works system through three successive state agencies between 1895 and 1926.

Provenance:: The collection was acquired by Curator Robert Vogel, Division of Work and Industry, National Museum of American History, 1964-1965.

Restrictions:: The collection is open for research use. Researchers must handle unprotected photographs with gloves.

Rights:: Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:: Water utilities -- Massachusetts Search this; Water tunnels -- Massachusetts Search this; Water supply -- Massachusetts Search this; Tunnels -- Massachusetts Search this; Pumping stations Search this; Dams -- Massachusetts Search this; Waterworks -- Massachusetts Search this; Water-supply engineers -- Massachusetts Search this; Water-supply engineering -- Massachusetts Search this

Genre/Form:: Photographs -- Black-and-white photoprints -- 1900-1950; Photographs -- Black-and-white photoprints -- 1890-1900; Later prints

Citation:: Boston Water Works Collection, Archives Center, National Museum of American History, Smithsonian Institution

Identifier:: NMAH.AC.1117

See more items in:: Boston Water Works Collection

Archival Repository:: Archives Center, National Museum of American History

EDAN-URL:: ead_collection:sova-nmah-ac-1117

Arthur Wesley Dow papers

Creator:: Dow, Arthur W. (Arthur Wesley), 1857-1922 Search this

Names:: Académie Julian -- Photographs Search this; Ipswich Summer Art School -- Photographs Search this; Hess, Herbert A. (Herbert Arthur) Search this; Kenyon, Henry Rodman, 1861-1926 -- Photographs Search this; Käsebier, Gertrude, 1852-1934 Search this

Extent:: 1.3 Linear feet

Type:: Collection descriptions; Archival materials; Diaries; Photographs

Date:: circa 1826-1978; bulk 1879-1922

Summary:: The papers of Arthur Wesley Dow measure 1.3 linear feet and date from 1826-1978, with the bulk of the material dating from 1879-1922. The collection documents aspects of the life and work of the landscape painter, printmaker, photographer and educator. Papers include correspondence, diaries, writings, lecture notes, clippings, catalogs, ephemera, artwork, and photographs.

Scope and Content Note:: The papers of Arthur Wesley Dow measure 1.3 linear feet and date from 1826 to 1978, with the bulk of the materials dating from 1879 to 1922. Correspondence consists of two folders, which contain a few letters from Dow to his family during his stints painting in Brittany and to and from Columbia University's Teachers College, as well as letters from his wife (then fiancée) Minnie Pearson Dow to her mother and friend while she, too, was studying painting abroad. There is also a folder of typescript and handwritten notes on Dow's correspondence, the majority of which is not in this collection, attributed to his biographer, Arthur Warren Johnson. Diaries include travel diaries kept by Dow and his brother Dana F. Dow during their "trip around the world" in 1903-1904. Publications, clippings, exhibition catalogs, announcements for Dow's Ipswich Summer School of Art and a new edition of his book Composition: A Series of Exercises in Art Structure for the Use of Students and Teachers are found within printed materials. Notes and writings include a substantial number of handwritten manuscripts and typescripts of Dow's lectures on art and art history during his tenure as the Dean of Fine Arts at the Teachers College of Columbia University. There are a few examples of works of art, including prints from the Ipswich Prints series, and a pencil sketch of a colonial home, similar to those that appeared in the serial Antiquarian Papers.

This collection is particularly rich in vintage prints of Dow portraits as well as family and group photographs, although it does not include any of the artist's landscape cyanotypes. Among the nineteen vintage prints are several platinum prints including a portrait by the renowned Pictorialist photographer Gertrude Käsebier and an atmospheric image of Dow taken at the Grand Canyon by Mrs. Fannie Coburn, the mother of another well-known Pictorialist photographer, Alvin Langdon Coburn. There are also three portraits by Herbert Hess and a photogravure of Dow by Kenneth Alexander that was used in the publication announcement for the second edition of Composition. Group photographs include an albumen print of fellow artist Henry R. Kenyon with Dow in his Ipswich studio, with classmates at the Académie Julian in Paris, and with his own students during a crafts class at his Ipswich Summer Art School. There are also several modern copy prints of vintage photographs from other collections as well as photographs of artworks by Dow and his contemporaries.

Arrangement:: The collection is arranged into 6 series:

Series 1: Correspondence, circa 1885-1934 (Box 1; 3 folders)

Series 2: Diaries, 1861-1904 (Box 1; 6 folders)

Series 3: Notes and Writings, circa 1904-1977 (Box 1; 0.4 linear feet)

Series 4: Printed Materials, circa 1826-1978 (Boxes 1-2; 5 folders)

Series 5: Photographs, circa 1880-1977 (Boxes 1-2; 0.6 linear feet)

Series 6: Artwork, circa 1879-1906 (Box 1; 3 folders)

Biographical Note:: Arthur Wesley Dow, landscape painter, printmaker, photographer, and influential art educator, was born in Ipswich, Massachusetts on April 6, 1857, the eldest son of Mary Patch and David Dow. As a young man, he showed interest in the colonial history of Ipswich and together with Reverend Augustine Caldwell, he produced the serial Antiquarian Papers from 1875 to 1880, which featured Dow's drawings of local colonial architecture. It was Caldwell who advised him to pursue formal art instruction and in 1880 Dow began studying in the Boston studio of James M. Stone.

Like many aspiring American artists of his generation, Dow traveled to Paris for further art instruction. Between 1884 and 1889, the artist alternated between spending time in Paris, where he had enrolled in the Académie Julian, and in Brittany where he painted landscapes en plein air. During this period he produced landscape paintings that were accepted into the Paris Salon and exhibited to moderate success back in the United States.

Shortly after his return to Ipswich, Dow took a studio in Boston, where he hoped to attract students and began an extremely fertile and successful period as an art educator. He began studying Japanese art, particularly the compositional elements employed in Japanese prints, which he synthesized with Western art techniques and utilized in teaching composition and design. In addition to seeing students in his Boston studio, he began the Ipswich Summer School of Art, which continued into 1907. Pratt Institute hired Dow as an art instructor in 1895 and he remained there until 1904, when he was appointed the Director of Fine Arts of the Columbia University Teacher's College, a position he retained until his death in 1922. Between 1897 and 1903, he also taught at the Art Students League.

In 1899 his seminal book, Composition: A Series of Exercises in Art Structure for the Use of Students and Teachers, was published. Composition illustrated Dow's teaching method, which focused on the compositional elements of line, notan (a Japanese word for the balance of light and dark in a composition) and color. The book underwent several printings and art schools across the United States adopted the Dow method. Max Weber, Georgia O'Keeffe and the photographer Alvin Langdon Coburn were among the artists who personally benefited from Dow's instruction. Through his teaching, publications, and public speeches, Arthur Wesley Dow played an important role in shaping modern American art.

Related Material:: Also found at the Archives of American Art are the William H. Elsner papers relating to Arthur Wesley Dow, which include color photographs of Dow's works of art and correspondence regarding Dow between Frederick Moffatt and Rudolph Schaeffer.

Separated Material:: The Archives of American Art also holds microfilm of material lent for microfilming (reels 1027, 1033-1034, and 1079) including biographical material, correspondence, manuscripts, printed material, and one diary. Reel 1271 contains group photographs taken at the Académie Julian, Paris, as well as unidentified group photographs, some of the photographs and are available at the Ipswich Historical Society. All other loaned materials were returned to the lenders and are not described in the collection container inventory.

Provenance:: Material on reels 1027 and 1033-1034 were lent for microfilming by the Ipswich Historical Society, 1975. The diary on reel 1079 was lent by the Society for Preservation of New England Antiquities, 1976. Dow's grand-niece, Mrs. George N. Wright, donated material in 1976, and lent the photographs for microfilming in 1977. Additional material was received from Frederick Moffatt in 1989, who had obtained them in preparation for his book Arthur Dow (1977).

Restrictions:: The bulk of the collection has been digitized and is available online via the Archives of American Art's website. Use of material not digitized requires an appointment.

Rights:: The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:: Landscape painters -- Massachusetts Search this

Topic:: Works of art Search this; Printmakers -- Massachusetts Search this; Photographers -- Massachusetts Search this; Art educators -- Massachusetts Search this; Art -- Study and teaching -- Massachusetts Search this

Genre/Form:: Diaries; Photographs

Citation:: Arthur Wesley Dow papers, circa 1826-1978 (bulk 1879-1922). Archives of American Art, Smithsonian Institution.

Sponsor:: Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art

Identifier:: AAA.dowarth

See more items in:: Arthur Wesley Dow papers

Archival Repository:: Archives of American Art

EDAN-URL:: ead_collection:sova-aaa-dowarth

Online Media:

Allyn Cox papers

Creator:: Cox, Allyn, 1896-1982 Search this

Names:: American Battle Monuments Commission Search this; Art Commission of the City of New York Search this; Art Students League (New York, N.Y.) Search this; Century Association (New York, N.Y.) Search this; Cosmos Club (Washington, D.C.) Search this; Dumbarton Oaks Search this; George Washington Masonic National Memorial (Alexandria, Va.) Search this; National Society of Mural Painters (New York, N.Y.) Search this; Park Club of Kalamazoo Search this; Smithsonian Institution Search this; United States Capitol Historical Society Search this; Bayley, John Barrington, 1914-1981 Search this; Bishop, Warner Search this; Cassio, Fabrizio Search this; Conrad, Arthur Search this; Cox, Ethel Search this; Cox, Kenyon, 1856-1919 Search this; Cox, Louise Howland King, 1865-1945 Search this; DeWitt, Roscoe, 1894-1975 Search this; Frost, Stuart Search this; Harbeson, John F., 1888-1986 ((John Frederick)) Search this; Keally, Francis, 1889-1978 Search this; Keller, Deane, 1901-1992 Search this; Lamb, Adrian Search this; Laning, Edward, 1906-1981 Search this; Lay, Charles Downing, 1877-1956 Search this; MacDonald, Pirie, 1867-1942 Search this; Schwengel, Fred, 1907-1993 Search this; Shutze, Philip Trammell Search this; Young, Clifford, 1905- Search this

Extent:: 11 Linear feet

Type:: Collection descriptions; Archival materials; Interviews; Diaries; Photographs; Sketchbooks; Sketches

Place:: General Grant National Memorial (New York, N.Y.)

Date:: 1856-1982

Summary:: The papers of New York, N.Y., and Washington, D.C. painter and muralist Allyn Cox measure 11 linear feet and date from 1856-1982. The collection documents Cox's personal and professional life through biographical material, family and general correspondence, writings and notes, research material, printed material, sketchbooks and loose sketches, and photographs. Photographs are of Cox at work, the Cox family, including Kenyon and Louise Cox, Cox's friends and colleagues, events, and Cox's artwork.

Scope and Contents:: The papers of New York, N.Y., and Washington, D.C. painter and muralist Allyn Cox measure 11 linear feet and date from 1856-1982. The collection documents Cox's personal and professional life through biographical material, family and general correspondence, writings and notes, research material, printed material, sketchbooks and loose sketches, and photographs. Photographs are of Cox at work, the Cox family, including Kenyon and Louise Cox, Cox's friends and colleagues, events, and Cox's artwork.

Biographical material includes family birth, death, and marriage certificates, and passports for Cox and his wife Ethel, whom he married in 1927; professional membership cards, awards and certificates; records related to sales of furnishings from the Cox family home in Essex, Massachusetts; and an untranscribed interview of Cox by Tony Janak of NBC TV.

Cox's family correspondence is primarily with his mother, Louise Cox. Also found is correspondence with Cox's sister, Caroline Cox Lansing, and his brother Leonard Cox and Leonard's wife, Sylvia, and letters from Ethel Cox to her mother. Additional correspondence relating to the disposition of Kenyon Cox''s artwork and archives to various institutions, can also be found here.

General correspondence documents Cox's career and professional relationships with artists and architects, including John Barrington Bayley, Fabrizio Cassio, Arthur Conrad, Roscoe DeWitt, Stuart Frost, John Harbeson, Francis Keally, Adrian Lamb, Edward Laning, Charles Downing Lay, Deane Keller, Philip Trammell Shutze, and Cliff Young; art institutions and organizations including the Art Commission of the City of New York, the Art Students League, Dumbarton Oaks, the National Society of Mural Painters, and the Smithsonian Institution; federal, state and local government agencies including the American Battle Monuments Commission, the Architect of the Capitol, and the General Grant National Memorial; members of Congress including founder of the United States Capitol Historical Society, Representative Fred Schwengel; and private social clubs in which Cox was active, including the Century Association, the Cosmopolitan Club and the Cosmos Club. Correspondence documents Cox's most well known commissions including work for the George Washington Masonic National Memorial and the United States Capitol, as well as work for many private clients including banks and residences.

Also found are typescripts, manuscripts and notes for Cox's lectures, as well as Ethel Cox's diary from 1923-1936 and her diary excerpt from 1955. Ten folders of research files, consisting primarily of clippings, comprise Cox's source material. Additional printed material provides scattered documentation of Cox's career through announcements and catalogs, and magazine and newspaper articles written by him or about his work. Also found is one folder of clippings about Kenyon Cox.

Four sketchbooks and circa twenty-two loose animal, figure, architectural and landscape sketches comprise Cox's artwork, in addition to two 1943 sketches Cox entered into a War Department mural competition. Also found is an 1873 sketchbook of Kenyon Cox, with sketches of people and scenes in Ohio.

Photographs are of Cox from childhood to the 1980s; his family, including parents, siblings, and grandparents; friends including Philip Trammell Shutze and Warner Bishop; family residences; artist models; events; and artwork, including many of Cox's commissions. In addition to photographic prints, slides, and negatives, the series includes vintage formats such as an ambrotype, 8 tintypes, 2 cyanotypes, and a platinum print. Of particular note are circa 16 photos of Kenyon Cox, one taken by Pirie MacDonald and three of him teaching a class at the Art Students League, and a series of circa 1906 photos taken in a garden, of Louise and Kenyon Cox with their children and others. Also found are 10 glass plate negatives of artwork by Cox.

Arrangement:: The collection is arranged as 7 series. Glass plate negatives are housed separately and are closed to researchers.

Series 1: Biographical Material, 1916-1982 (0.33 linear feet; Boxes 1, 12)

Series 2: Correspondence, 1878-1982 (6.74 linear feet; Boxes 1-7, 12)

Series 3: Writings and Notes, 1919-1982 (0.58 linear feet; Boxes 7-8)

Series 4: Research Files, circa 1950s-circa 1970s (0.25 linear feet; Box 8)

Series 5: Printed Material, 1920s-1982 (0.5 linear feet; Boxes 8-9)

Series 6: Sketchbooks and Sketches, 1873-circa 1978 (0.25 linear feet; Box 9, OVs 13-14)

Series 7: Photographs, 1856-circa 1980 (2.25 linear feet; Boxes 9-12, OV 13)

Biographical / Historical:: New York, N.Y. and Washington, D.C. painter and muralist, Allyn Cox (1896-1982), was born in New York City to artists Kenyon and Louise Cox. Cox first trained as his father's assistant, serving as an apprentice to Kenyon Cox during the painting of the murals at the Wisconsin State Capitol, circa 1912. He attended the National Academy of Design from 1910-1915, and the Art Student's League with George Bridgman in 1915. In 1916 he was awarded the Prix de Rome and subsequently studied at the American Academy in Rome for 2 years before returning to New York City to begin a career in mural painting.

Cox completed numerous murals and decorative paintings for private residences, businesses, churches, and public buildings. Some of his most famous commissions included murals for the Royal Arch Room and Memorial Hall of the George Washington Masonic National Memorial in Alexandria, Virginia; the Law School at the University of Virginia, Charlottesville; and the William A. Clark Memorial Library at the University of California, Los Angeles; panels for the National City Bank, the Continental Bank, and the Guaranty Trust Company in New York; and glass mosaics and inlaid stone maps for the United States Military Cemetery in Hamm, Luxembourg.

Cox is best known for his work in the United States Capitol, beginning in 1952 when he undertook a congressional commission to restore and complete the murals in in the Capitol rotunda begun by Constantino Brumidi and Filipo Costaggini in 1878. Over the course of the next two decades Cox, now residing in Washington, D.C., restored the Frieze of American History and the Apotheosis of Washington in the Rotunda, and designed murals for three first-floor corridors in the Capitol's House wing, now known as the Cox Corridors. Assisted by Cliff Young, Cox completed painting for two of these corridors before his death. In 1958 Cox also painted a portrait of Henry Clay for the Senate Reception Room and in 1975 completed a mural depicting the 1969 moon landing in the Brumidi Corridor.

Cox taught at the Art Students League in 1940 and 1941, and was active in professional organizations throughout his career. He served as President of the American Artists Professional League and the National Society of Mural Painters, and Vice President of both the Fine Arts Federation and the New York Architectural League. He was a member of the board of the New York Municipal Art Society and served on the the New York City Art Commission.

Cox retired in March 1982 at the age of 86 and died the following September.

Related Materials:: Also found in the Archives of American Art are the Allyn Cox papers relating to U.S. Capitol murals, 1970-1974, donated by the Committee on House Administration, via Cindy Szady in 1981. Papers include a resume; a cost estimate by Cox for designing and executing mural decorations in the U.S. Capitol, 1970; a letter, 1974, from the Office of the Architect of the Capitol to the Capitol Historical Society enclosing photocopies of printed material pertinent to the unveiling and dedication of the Capitol rotunda frieze in 1954; miscellaneous printed material, 1971-1974; and 15 photographs of the murals in the Capitol.

Provenance:: The bulk of the Allyn Cox papers was donated in 1977 and 1983 by the Estate of Allyn Cox, Stephen M. Pulsifer, Exectuor, including material that had been loaned for microfiliming in 1969. Two mural sketches were donated by the Essex County Greenbelt Association in 1984.

Restrictions:: Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Glass plate negatives are housed separately and are closed to researchers,

Use of archival audiovisual recordings with no duplicate access copy requires advance notice.

Rights:: The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:: Painters -- Washington (D.C.) Search this

Topic:: Painters -- New York (State) -- New York Search this; Muralists -- Washington (D.C.) Search this; Muralists -- New York (State) -- New York Search this

Genre/Form:: Interviews; Diaries; Photographs; Sketchbooks; Sketches

Citation:: Allyn Cox papers, 1856-1982. Archives of American Art, Smithsonian Institution.

Sponsor:: Funding for the processing of this collection was provided by the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.

Identifier:: AAA.coxally

See more items in:: Allyn Cox papers

Archival Repository:: Archives of American Art

EDAN-URL:: ead_collection:sova-aaa-coxally

Online Media:

Charles Walter Stetson papers

Creator:: Stetson, Charles Walter, 1858-1911 Search this

Names:: Chamberlin, F. Tolles (Frank Tolles), 1873-1961 Search this; Gilman, Charlotte Perkins, 1860-1935 Search this; Goodale, David Search this; Knight, Edward B. Search this; Stetson, Katharine Beecher, 1885-1979 or 81 Search this

Extent:: 1.8 Linear feet ((on 4 microfilm reels))

Type:: Collection descriptions; Archival materials; Sketchbooks

Date:: 1879-1974

Scope and Contents:: Letters; sketchbooks; photographs and cyanotypes; scrapbook; writings, novelettes, and poetry by Stetson; biographical information; and printed material.; REELS 3211-3213: 9 letters, 1912, written by Stetson's widow to Edward B. Knight containing transcribed entries from Stetson's journal; a notebook, 1881-1908, "Opera," containing Stetson's notes on his paintings; novelettes and poetry by Stetson and his first wife, Charlotte Perkins Gilman; an autobiography by his daughter, Katharine Stetson Chamberlin; an unpublished manuscript by David Goodale on Stetson; 15 sketchbooks; a scrapbook containing etchings; three sketches by Frank Tolles Chamberlin and a brief biography of him; photographs of Stetson, his daughter, Katharine, and his paintings.; Also included are 734 photographs, including some cyanotypes, of Stetson, his family and friends, works of art, models, animals, buildings, children, landscapes, ships, and many other subjects; and clippings.; REEL 3646: 5 photographs, ca. 1880-1899, of Stetson, his second wife, Grace, his daughter, and interior and exterior views of his studio. [Also filmed on reels 3590 and 3612.]

Biographical / Historical:: Painter; California and Rome, Italy. Born in Rhode Island. His daughter, Katharine Beecher Stetson, a painter and sculptor also, married Frank Tolles Chamberlin.

Provenance:: Material on reels 3211 and portions of 3212 originally lent for microfilming 1983 by David Goodale, an art historian who studied Stetson. These papers were subsequently donated 1986 by Goodale's daughter, Shelley Luckenbach upon her father's death. Remaining material on reel 3212 and all material on reel 3213 donated 1983 by Doroth Stetson Chamberlin and Walter Chamberlin, grandchildren of Stetson. Photographs on reel 3646 transfered to AAA by National Museum of American Art via director, Charles Eldredge, 1985.

Restrictions:: Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.

Occupation:: Painters Search this

Topic:: Painting, Modern -- 19th century -- United States Search this; Artists' studios -- Photographs Search this

Genre/Form:: Sketchbooks

Identifier:: AAA.stetchar

Archival Repository:: Archives of American Art

EDAN-URL:: ead_collection:sova-aaa-stetchar

Robert Schoelkopf Gallery records

Creator:: Robert Schoelkopf Gallery Search this

Names:: Zabriskie Gallery Search this; Andrejevic, Milet, 1925- Search this; Aponovich, James, 1948- Search this; Bailey, William, 1930-2020 Search this; Bell, Leland Search this; Brassaï, 1899- Search this; Cameron, Julia Margaret Pattle, 1815-1879 Search this; Cartier-Bresson, Henri, 1908- Search this; Cornell, Joseph Search this; Dawson, Manierre, 1887-1969 Search this; Driggs, Elsie, 1898-1992 Search this; Erlebacher, Martha Mayer Search this; Evans, Walker, 1903-1975 Search this; Fiske, Gertrude, 1878-1961 Search this; Freund, Gisèle Search this; Horton, William S., 1865-1936 Search this; Ito, Miyoko, 1918-1983 Search this; Lachaise, Gaston, 1882-1935 Search this; Laderman, Gabriel, 1929- Search this; Ligare, David Search this; Matthiasdottir, Louisa Search this; Matulka, Jan, 1890-1972 Search this; Myers, Ethel Search this; Nadelman, Elie, 1882-1946 Search this; Schoelkopf, Robert J., 1927-1991 Search this; Stella, Joseph, 1877-1946 Search this; Storrs, John Henry Bradley, 1885-1956 Search this; Wiesenfeld, Paul Search this

Extent:: 29 Linear feet

Type:: Collection descriptions; Archival materials; Gallery records; Illustrated letters; Photographs

Date:: 1851-1991; bulk 1962-1991

Summary:: The collection comprises 29 linear feet of records that document the day-to-day administration of the Robert Schoelkopf Gallery from 1962 to 1991, with additional items predating the founding of the gallery from 1851 to 1961. The collection records artist and client relations, exhibitions, and daily business transactions through artist files, correspondence, printed matter, and photographic material.

Scope and Content Note:: The records of the Robert Schoelkopf Gallery comprise 29 linear feet of material from 1851 to 1991, with some items predating the founding of the gallery. The bulk of the records date from 1962 to 1991, providing researchers with fairly comprehensive coverage of the gallery's development and operations from its inception in 1962 until its closure in 1991. Items dated prior to 1962 relate principally to the period of transition during which Robert Schoelkopf ended his partnership with the Zabriskie Gallery and established his own business. There are also some items relating to artists of the nineteenth and early twentieth century.

The collection consists primarily of artist files documenting relations with contemporary artists, representation of deceased artists, and other works of art handled by the gallery. It also chronicles the gallery's exhibition schedule and the day-to-day administration of the business. The types of material that can be found here include correspondence, exhibition inventories, price lists, accounting and consignment records, shipping and insurance records, printed material, and photographs.

The collection is a valuable source of information on twentieth-century American art history, focusing primarily on early-twentieth-century modernists as well as an important group of American realist painters and sculptors from the latter half of the century. The collection illuminates, in detail, the developing market for these schools and, in the case of the latter group, provides personal insights from artists on the realist perspective.

The records also document the Robert Schoelkopf Gallery's significant contribution to the resurgence of interest in fine art photography during the 1960s and 1970s as reflected in an increase in the value of works by important American photographers such as Walker Evans.

Much of the outgoing correspondence from the gallery consists of copies of letters written by Robert Schoelkopf, with additional business being handled by assistant staff and, from the mid-1970s, Schoelkopf's wife, Laura Jane Schoelkopf. The records offer insight into the personalities of the Schoelkopfs and how their congenial and candid management style influenced their relationships with the contemporary artists they represented.

Arrangement:: Originally the collection was organized as one large file arranged alphabetically by folder title, with titles ranging from names of artists to general subject headings such as "Correspondence." During processing it became clear that the gallery delineated operations into three main functions: artist relations, client-dealer relations, and exhibitions. Consequently the collection is arranged as three main series based on these areas of concern. A small group of miscellaneous photographs of artists constitutes an additional series at the end of the collection.

Originally paper records throughout the collection were generally arranged chronologically, although this order was not strictly adhered to. Frequently, correspondence and memoranda were attached to related records going back several years. To preserve the relationship between such documents, records stapled together in this way have been left together. They are arranged in reverse chronological order and filed in the folder corresponding to the primary date (i.e., the date of the first and most recent paper in the group). Researchers should be aware that date ranges provided on folders refer to the primary dates of documents contained therein and that some items in the folder may predate that range. Otherwise, the general chronological scheme has been retained throughout the collection, with undated material placed at the beginning of the appropriate file.

Printed material is arranged in chronological order, with undated material at the beginning of the folder, and may include press releases, exhibition announcements, exhibition catalogs, posters, clippings from newspapers, magazines, and journals, and other publicity material. Large amounts of printed material are broken down into several discrete folder units.

The most consistent labeling system for photographic material apparent throughout the collection was title of work of art. The majority of images are not dated with a printing date or the date that the work of art was produced, and although many of them have a processing number, these are by no means consistent and there are no master lists that can be used to interpret them. Consequently, images are arranged primarily by media type and then alphabetically by title. Untitled images are placed at the beginning of a media group; "the" in a title is ignored. Exceptions to this method are addressed in the appropriate series descriptions.

Files labeled "Photographs of Works of Art" will typically include any or all of the following: black-and-white copy prints, black-and-white transparencies, color transparencies, slide transparencies, Polaroid prints, color snapshots, contact sheets, and separation sheets. Often the same image will be duplicated in several different formats. Any notes on photographic material found in or on the original folder in which the material was filed have been preserved with the material or transcribed onto a sheet of acid-free paper that either encloses or is placed directly before the item to which the information applies.

The designation "General" indicates that a file may contain any or all of the types of material outlined above.

Series 1: Artist Files, 1851-1991, undated (Boxes 1-23; 23 linear ft.)

Series 2: General Business Files, 1960-1991, undated (Boxes 24-28; 4.74 linear ft.)

Series 3: Group Exhibition Files, 1960-1988, undated (Boxes 28-29; 1 linear ft.)

Series 4: Photographs of Artists, undated (Box 29; 0.25 linear ft.)

Historical Note:: Robert Schoelkopf, Jr., was born in Queens, New York, in 1927. He graduated from Yale College in 1951 with a bachelor of arts degree and then taught briefly at his alma mater while conducting graduate research in art history. Schoelkopf began his career in commercial art in 1957 as an independent dealer of American painting and sculpture and became a member of the Art Dealers Association of America in 1958. In 1959 he formed a partnership with Virginia Zabriskie, of the Zabriskie Gallery in New York, which lasted until 1962. The gallery exhibited late-nineteenth and early-twentieth-century American painting, together with contemporary painting of a somewhat conservative style.

In 1962 Schoelkopf signed a three-year lease for the fourth floor of a building at 825 Madison Avenue in New York, where he opened the Robert Schoelkopf Gallery. From the outset, Schoelkopf aimed to specialize in American painting of the nineteenth and twentieth century and sculpture of all schools. He predicted a burgeoning market for the Hudson River School in particular, believing that American painting was increasingly perceived as being worthy of serious attention. In a letter dated January 3, 1963, Schoelkopf congratulated John Spencer for his decision to collect nineteenth-century American paintings for the Allen Memorial Art Museum at Oberlin College, assuring him that "progressive chauvanism [ sic] will operate to elevate prices in American painting. Every year more colleges teach Art History, and soon they shall have reached the level of sophistication and development where they will be obliged (for face) to offer tuition in specifically American art - hitherto neglected of academicians.... I and many other dealers have plans for exhibitions of nineteenth-century American painting, especially the Hudson River School."

Schoelkopf's instincts regarding the Hudson River School were undoubtedly correct, and consequently nineteenth-century American painters formed a permanent mainstay of his inventory. He is perhaps remembered more, however, for his dedication to reviving interest in lesser-known American painters from the turn-of-the-century who were impressionist or modernist in style. Schoelkopf developed something of a reputation for unearthing forgotten talent that, while sometimes mediocre or inconsistent, was occasionally exceptional and certainly worthy of note. He was committed to reinstalling Joseph Stella in the pantheon of major American artists, representing Stella's estate from 1963 to 1971 and holding regular exhibitions of the artist's work from 1962 on. In 1969 the gallery held the first New York exhibition of the paintings of Manierre Dawson, who was subsequently acclaimed by the critics for his important and innovative contributions to modernism. In 1970 Schoelkopf began showing the work of Jan Matulka, an artist whose work had been neglected since the 1930s, and his enthusiastic representation of the Matulka estate paved the way for a retrospective at the Whitney Museum of American Art in 1979.

Schoelkopf's interest in turn-of-the-century artists also extended to sculptors such as John Flannagan, Ethel Myers, Elie Nadelman, and John Henry Bradley Storrs, and he directed considerable energy to furthering Gaston Lachaise's reputation as an artist of major stature. When Lachaise died at the peak of his career in 1935, his estate was left to his wife, Isabel, and in 1957 to Isabel's son, Edward. When Edward died shortly thereafter, John B. Pierce, Jr., a nephew of Isabel Lachaise, was appointed trustee of the estate and formed the Lachaise Foundation. In 1962 Pierce entered an agreement with Robert Schoelkopf and Felix Landau to represent Lachaise's sculpture on the East and West Coasts, respectively. In this capacity Schoelkopf helped to launch a major retrospective of the artist's work at the Whitney Museum of American Art in 1964 and a traveling exhibition that began circulating in 1967.

The gallery's other major commitment was to painting and sculpture by contemporary American realists, many of whom worked in a figurative style and explored elements of allegory and classical mythology in their work, presenting landscapes, still lifes, and portraits from a realist perspective. The bulk of the gallery's exhibitions were, in fact, of work by contemporary artists, including metaphysical still-life painter William Bailey, colorist Leland Bell, figurative painter Martha Mayer Erlebacher, landscape and narrative painter Gabriel Laderman, and Icelandic artist Louisa Matthiasdottir. William Bailey was one of the gallery's most commercially successful artists, and his first one-person exhibition in New York was held there in 1968. Demand for Bailey's paintings often far exceeded his output, and by the late 1970s Schoelkopf invariably sold out his exhibitions and had compiled a lengthy waiting list for his work.

In its early years the Robert Schoelkopf Gallery contributed considerably to the development of interest in fine art photography that fostered an increasingly lucrative market for photographic prints during the 1960s and 1970s. In 1965 Schoelkopf began incorporating photography into the gallery's exhibition schedule and, in the spring of 1974, opened a gallery dedicated to photography on the second floor at 825 Madison Avenue. Between 1965 and 1979 Schoelkopf's was the only serious New York gallery dealing in painting and sculpture that also regularly exhibited photography as fine art. His interests lay primarily in antiquarian photography and the work of nineteenth-century and twentieth-century masters including Eugéne Atget, Mathew Brady, James Robertson, and Carleton Watkins. Schoelkopf organized shows examining specific photographic processes, the photogravure and the cyanotype, and presented surveys of genres such as portrait and landscape photography. In 1967 he held the first exhibition in many years of the work of Julia Margaret Cameron, an important figure in the history of Victorian photography, timing it to coincide with a show at the Metropolitan Museum of Art that focused on Cameron as one of four Victorian photographers.

Schoelkopf also handled the work of several influential contemporaries, most notably Brassaï, Henri Cartier-Bresson, Walker Evans, and Gisèle Freund. The gallery held Freund's first exhibition in the United States in 1975 and was, for a time, the only place in New York where one could see and purchase prints by Cartier-Bresson. Schoelkopf began exhibiting Evans's work in 1966 and regularly thereafter, including a 1971 exhibition that coincided with a major retrospective at the Museum of Modern Art.

In the fall of 1976 the second-floor gallery space was turned over to Marcuse (Cusie) Pfeifer, then the gallery's director, who planned to use it to show the work of young photographers in a gallery under her own name. Schoelkopf continued to hold several photography exhibitions a year in the fourth-floor gallery but decided to concentrate primarily on nineteenth-century masters.

In March 1971 a fire in the building at Madison Avenue resulted in substantial water damage to the gallery space. Although very little of the inventory was destroyed, the incident forced Schoelkopf to close until September. This temporary loss of revenue compounded with a nationwide recession cut into Schoelkopf's financial resources and left him questioning his commission policy and his level of commitment to contemporary work in all media. A letter to artist Adolph Rosenblatt dated May 3, 1971, records how Schoelkopf had become increasingly disenchanted with "all contemporary work" and would begin taking 40 percent commission on sales, instead of 33.3 percent. "Beside the matter of enthusiasm is the matter of economics," Schoelkopf remarked, "and the last year and a half have been really dreadful for the art business."

This difficult period was followed immediately by more prosperous times. January 1973 proved to be the gallery's most successful month to date, encouraging Schoelkopf to purchase a house in Chappaqua, New York, later that year. In November 1974 Schoelkopf wrote to Anthony D'Offay that business "is as slow as it has ever been, but what sales we make are big ones" and revealed that auctions had, at that point, become his primary avenue for trade.

Around 1975 Schoelkopf's wife of eleven years, Laura Jane Schoelkopf, began working in the gallery. Although seemingly dubious of the work at first, she became a considerable asset to the business and reputedly complemented her husband's relationship with the gallery's contemporary artists through her warmth and hospitality, qualities often noted by artists who corresponded regularly with the couple.

The financial instability that characterized the 1970s undoubtedly influenced Schoelkopf's decision to cease exhibiting photography in 1979. By 1978 however, his investment in early-twentieth-century art appeared to be paying off. Jan Matulka, Joseph Stella, and John Henry Bradley Storrs had all been represented in exhibitions at major museums, and sales of their work had increased considerably. Gaston Lachaise's reputation continued to grow, and the traveling exhibition still circulated, garnering far more interest than had originally been anticipated.

Although contemporary artists continued to take up the largest portion of the gallery's changing exhibitions, Schoelkopf's interest in contemporary work was growing more conservative, tending toward a narrower focus on the narrative and allegorical. By 1979 he no longer exhibited contemporary sculpture, admitting to a lack of enthusiasm for the work of any of the current figurative sculptors and a dislike of all contemporary abstract work. In a letter to Lillian Delevoryas, dated March 17, 1982, he confessed, "With age has come a hardening of the aesthetic arteries perhaps. What we have been showing is realism, but getting tighter all the time."

In April 1984 the gallery was moved to 50 West Fifty-seventh Street, and, during the years that followed, the Schoelkopfs pared down the number of contemporary artists they represented, handling only those to whom they felt most strongly committed while continuing to specialize in nineteenth-century and early-twentieth-century American painting and sculpture. As the gallery approached its thirtieth anniversary, Schoelkopf's achievements were considerable. He had operated a successful New York gallery for almost three decades, rejuvenated the reputations of several important American artists, and was respected by artists and clients alike for the integrity, intelligence, and humor with which he conducted his business affairs. In 1987 he had been appointed to the board of trustees of the Williamstown Regional Art Conservation Laboratory. By this time he was also a member of the advisory board to the National Academy of Design, and in 1988 he became a co-trustee of the Joseph and Robert Cornell Memorial Foundation.

In March 1990, Robert Schoelkopf was diagnosed with leukemia and underwent a regimen of cancer treatment that resulted in a brief remission by the summer. Schoelkopf returned to work temporarily, but by 1991 his condition had worsened and he died in April of that year. Having known for some time that her husband's prognosis was poor, Laura Jane Schoelkopf had apparently decided that she would not continue the gallery in the event of his death. With the help of the youngest of their two sons, Andrew, she settled final accounts and assisted the gallery's contemporary artists in finding representation elsewhere before closing the business in August 1991.

Provenance:: Twenty-seven linear feet of records were donated to the Archives of American Art by Laura Jane Schoelkopf, Robert Schoelkopf's widow, and the Coe Kerr Gallery in 1991 and 1992. An additional gift of 3.4 linear feet was donated by Laura Jane Schoelkopf in 1996. The collection was reduced slightly during processing.

Restrictions:: The collection is open for research. Use requires an appointment.

Rights:: The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Topic:: Art, Modern -- 20th century Search this; Works of art Search this; Photography, Artistic Search this; Realism Search this; Art, American Search this; Art galleries, Commercial -- New York (State) -- New York Search this

Genre/Form:: Gallery records; Illustrated letters; Photographs

Citation:: Robert Schoelkopf Gallery records, 1851-1991, bulk 1962-1991. Archives of American Art, Smithsonian Institution.

Sponsor:: Funding for the processing of this collection was provided by the Getty Foundation.

Identifier:: AAA.robeschg

See more items in:: Robert Schoelkopf Gallery records

Archival Repository:: Archives of American Art

EDAN-URL:: ead_collection:sova-aaa-robeschg

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Winslow Homer collection

Creator:: Homer, Winslow, 1836-1910 Search this

Names:: Clarke, Thomas B. (Thomas Benedict), 1848-1931 Search this; Prang, Louis, 1824-1909 Search this; Salinger, Emil Search this

Extent:: 0.2 Linear feet

Type:: Collection descriptions; Archival materials

Date:: 1863, 1877-1945

Summary:: The Winslow Homer collection measures 0.2 linear feet with material from 1863 and 1877 to 1945. The collection documents Homer's career as a painter and lithographer through letters, printed material, family records, and photographs.

Scope and Content Note:: The Winslow Homer collection measures 0.2 linear feet with material that dates from 1863 and 1877 to 1945. The collection documents Homer's career as a painter and lithographer through letters, printed material, family records, and photographs.

Letters in the collection primarily document Homer's later career between 1890 and 1909. Included are an illustrated letter to the art collector George G. Briggs concerning frames, and twenty-six letters to art collector and friend, Thomas B. Clarke, discussing Homer's artwork, exhibitions, sale of his work, and his family. Many of the Clarke letters are transcribed. Also found are twelve letters to Louis Prang, a friend and successful chromolithographer, concerning Homer's drawing techniques and making drawings for Prang's use. Miscellaneous letters include a letter to cellist Emil Salinger, art editor Florence Fuller, and others, discussing his artwork. Marie "Midie" W. Blanchard was Homer's cousin and the folder of her letters includes a letter from Homer to her, and two letters from her to others about Homer.

This collection also contains photograph copies of four pages from the "Family Record" in the Homer family Bible, which records births, deaths, marriages, and locations of family members. The "Century Loan Exhibition" catalog is annotated throughout with notes regarding the exhibition and contains an introduction by Booth Tarkington. Also found is a newspaper clipping about Homer's artwork. Photographs include twenty albumen and cyanotype photographs, on two pages from a photo album, of Winslow Homer and family in various activities.

Arrangement:: Due to the small size of this collection, items are categorized into one series consisting of twelve folders. Items are arranged chronologically within each folder.

Biographical Note:: Winslow Homer was born in Boston, Massachusetts, in 1836. He was raised in Cambridge, where he developed a love of art and the outdoors. At the age of 19 he began his career as an illustrator, apprenticing at the J.H. Bufford lithographic firm in Boston. He then decided to become a freelance illustrator. In 1859 Homer moved to New York to work for Harper's Weekly, serving as artist-correspondent for the magazine during the Civil War. After taking some art classes at the National Academy of Design, he decided to focus on oil painting. He quickly gained international recognition as a painter, and in 1866 made his first trip to Europe. In 1873 he decided to work in watercolor and found great success in his experimentation with light and color in this medium. In the mid-1880s Homer moved permanently to Prout's Neck, Maine, an isolated area where he built a studio and focused his paintings on man's struggle with nature. Also during the 1880s he worked on a series of etchings based on his paintings. Homer continued to paint for the next twenty years, vacationing summers in places such as the Adirondacks and the Bahamas to capture varied landscapes, until his death in 1910.

Related Material:: Also found in the Archives of American Art are the Winslow Homer letters to M. Knoedler & Company, 1900-1904.

Provenance:: Items in this collection are gifts of various donors. The exhibition catalog was donated by Lawrence Fleischman in 1954, the photographs donated by Dorothy Adlow in 1961, and the Marie Blanchard letters and news clipping donated by Carlotta Claflin in 1976. Other letters were donated by Charles Feinberg in 1959, Joyce Tyler in 1979, Lawrence Fleischman in 1959, Jean Meissner and William T. Campbell in 1966, Katherine H. Coudon in 1989, and Edgar Salinger in 1961. The bible pages were a 1977 anonymous donation. Items were microfilmed shortly after receipt.

Restrictions:: The collection has been digitized and is available online via AAA's website.

Rights:: The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:: Painters -- Maine Search this

Topic:: Art -- Collectors and collecting Search this; Painting, American Search this

Citation:: Winslow Homer collection, 1863, 1877-1945. Archives of American Art, Smithsonian Institution.

Sponsor:: Funding for the re-processing and digitization of this collection was provided by the Terra Foundation for American Art

Identifier:: AAA.homewinl

See more items in:: Winslow Homer collection

Archival Repository:: Archives of American Art

EDAN-URL:: ead_collection:sova-aaa-homewinl

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Oral history interview with John Dugdale

Interviewee:: Dugdale, John, 1960- Search this

Interviewer:: Kerr, Theodore Search this

Names:: Visual Arts and the AIDS Epidemic: An Oral History Project Search this; Sendak, Maurice Search this

Extent:: 2 Items (sound files (6 hrs., 1 min.), digital, wav); 122 Pages (Transcript)

Type:: Collection descriptions; Archival materials; Pages; Interviews; Sound recordings

Date:: 2017 January 17-18

Scope and Contents:: An interview with John Dugdale conducted 2017 January 17-18, by Theodore Kerr, for the Archives of American Art's Visual Arts and the AIDS Epidemic: An Oral History Project, at Dugdale's studio in New York, New York.; Dugdale speaks of finding great joy in his elementary school art teacher's classes; taking photographs of his siblings as a child; growing up in Stamford, Connecticut and remembering every detail of Little Italy; being bullied as a kid for being different; being a voracious reader; the impact of his parents' divorce at age 8; his interest in photography in high school taking him to the School of Visual Arts in New York City; being diagnosed HIV-positive; his first job photographing flowers for Mädderlake florists; the launch of his commercial photography career and the success that followed; caring for his friends who were sick and dying, thinking that would be his role in this epidemic; the stroke that left him almost completely blind and his extremely low T-cell count at the time of his hospitalization; spending a year in the hospital and ultimately checking himself out and recovering at home; the tremendous support of his family and community; having six weeks to prepare for a show at Wessel + O'Connor Fine Art upon returning home from the hospital; resurrecting the cyanotype process for the show; his surprise at the success of the show, and slow realization that people were moved by viewing their own experiences through his photographs; appreciation of the male body; being his own activist; creating art with the intention to draw people in and not scare them away; understanding and appreciating the power of the human body after experiencing multiple strokes and sight loss, and how these events brought more depth to his work; interacting with his models; a struggle with loneliness and desire for intimacy; the feeling of being awake and paying closer attention to the world around him; existing on borrowed time; experiencing a massive stroke as a result of long-term medication use; being HIV-positive for 10 years without showing symptoms; refusing to take AZT; his religious and spiritual beliefs; just as repaired Ming vases, feeling himself more powerful now in his "broken" state; his reaction to being represented in the Metropolitan Museum of Art; his love of being a gay man and feeling strongly that he would change nothing about his life; finding difficulty in being identified as an HIV-related artist; and the house fire that helped him realize that we own nothing in this life, not even our own bodies. Dugdale also recalls his partner Rey Clarke, Maurice Sendak, Louise Nevelson, Keith Haring. Karen Waltuck, Tom Pritchard, Billy Jarecki, Carla Grande, Cynthia O'Neal, and Karen Murphy.

Biographical / Historical:: John Dugdale (1960- ) is a photographer in New York, New York. Theodore Kerr (1979- ) is a writer and organizer in New York, New York.

Provenance:: This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics, and administrators.

Restrictions:: The transcript and audio recording are open for research. Contact Reference Services for more information.

Topic:: Photographers -- New York (State) -- New York -- Interviews Search this; Photographers with visual disabilities Search this; AIDS (Disease) and the arts Search this; AIDS (Disease) Search this

Genre/Form:: Interviews; Sound recordings

Sponsor:: Funded by the Keith Haring Foundation.

Identifier:: AAA.dugdal17

Archival Repository:: Archives of American Art

EDAN-URL:: ead_collection:sova-aaa-dugdal17

Eugene O. Leonard photograph collection relating to Pocatello and Fort Hall, Idaho

Collector:: Leonard, Eugene O. Search this

Publisher:: Albertype Co. Search this; Cardinell-Vincent Co. Search this; Detroit Photographic Co. Search this; Detroit Publishing Co. Search this; H.G. Zimmerman & Co. Search this; J.L. Robbins Co. Search this; Newman Postcard Co. Search this; The Rotograph Co. Search this; Union Pacific Railroad Company Search this; Van Ornum Colorprint Co. Search this; Andrews, Wesley Search this; Mitchell, Edward H. Search this; Tammen, Harry Heye, 1856-1924 Search this; Thayer, Frank S. Search this

Photographer:: Bennett's Lightning Portraits Search this; Eastman Kodak Company Search this; Hedum and Bishop Search this; Newcomb Bros. Search this; Rodgers and Newing Search this; Todd Photograhic Co. Search this; William L. Koehne Studio Search this; Ahuja, D. A. Search this; Cobb, George N. Search this; Gifford, Benjamin A. Search this; Haynes, F. Jay (Frank Jay), 1853-1921 Search this; Jackson, William Henry, 1843-1942 Search this; McEvoy, J. J. Search this; Rise, Carl H., 1888-1939 Search this; Rothrock, George H. Search this; Savage, C. R. (Charles Roscoe), 1832-1909 Search this; Vroman, A. C. (Adam Clark), 1856-1916 Search this; Weitfle, Charles, 1836-1921 Search this; Wrensted, Benedicte, 1859-1949 Search this

Names:: United States. Bureau of Indian Affairs. Fort Hall Agency Search this; Leonard, Robert M. (photo album compiler and donor) Search this

Extent:: 4 Glass positives; 6 Prints and postcards (photogravure); 1 Tintype; 100 Negatives (circa, glass); 220 Copy prints (circa); 9 Prints and postcards (cyanotype); 99 Items (99 photomechanical prints and postcards, halftone, color halftone, collotype, photgravure); 1,000 Negatives (circa, nitrate); 734 Photographic prints (circa, silver gelatin, albumen, and platinum (including photographic postcards and cabinet cards))

Culture:: Indians of North America -- Southwest, New Search this; Indians of North America -- Great Basin Search this; Hopi Pueblo Search this; Bannock Search this; Shoshone Search this; Niimíipuu (Nez Perce) Search this; Diné (Navajo) Search this; Tewa Pueblos Search this; Indians of North America -- Plateau Search this

Type:: Collection descriptions; Archival materials; Glass positives; Prints and postcards; Tintypes; Negatives; Copy prints; Photographic prints; Postcards; Photographs

Place:: Soda Springs (Idaho); Yellowstone National Park; Fort Hall Indian Reservation (Idaho); Pocatello (Idaho); Shoshone Falls (Idaho)

Date:: circa 1880-1920

Scope and Contents note:: Unbound album pages (labeled A through Q) with photographs documenting the people and culture of the Pocatello-Fort Hall area, including Native Americanss (particularly Shoshone-Bannock tribes), agency employees, and missionaries. Included are images of encampments, Sun Dance ceremonies, the Fort Hall Agency, Indian schools and churches, the Run for Fort Hall Lands on June 17, 1902, the War Bonnett Roundup at Idaho Falls, Shoshone Falls and other natural features and landscapes, a large number of street and aerial views of Pocatello, A. L. Cook's drug store in Pocatello, and members of the Cook family. In addition, there are photographs of Nez Perce, Hopi, San Juan, and Navaho Indians, and one image of the Lapps Indians at Port Townsend, Washington. A large number of the photographs were made by Benedicte Wrensted.

The albums were compiled by Robert Leonard, Eugene O. Leonard's son, who also made copy prints of many of the photographs and negatives. They include flyers, newspapers, envelopes, and other scraps collected by Leonard.

Biographical/Historical note:: Eugene O. Leonard (1884-1964) moved to Pocatello, Idaho, in 1893 to live with his aunt, the widow of A. L. Cook and owner of the Cook building and drugstore. Leonard attended Weiser College and Academy (now College of Idaho), Whitman College, and Northwestern University. He acquired degrees in phamacy and pharmaceutical chemistry from Northwestern University, and a degree in assaying studies from the Chicago College of Chemistry. After graduation from the College in 1908, Leonard returned to Pocatello to manage the Cook Drug Store until 1918. He worked as Pocatello City Chemist and set up the College of Pharmacy at Idaho State College, where he also taught and served as dean (1918-1954). In the 1930s, Leonard obtained a MS and PhD from Utah State University. Possibly encouraged by his collector aunt, Leonard established a collection of Native material culture objects and documentations, including artifacts and these photograhs, based on his interest in the Shoshoni and Bannock tribes at nearby Fort Hall.

Local Call Number(s):: NAA Photo Lot 92-3

Location of Other Archival Materials:: The Idaho Museum of Natural History at Idaho State University holds artifacts collected by Eugene O. Leonard.; The Bannock County Historical Museum in Pocatello holds the Leonard Family Papers, 1893-1917.

Restrictions:: Original nitrate negatives are in cold storage and require advanced notice for viewing. Many have associated prints.

Rights:: Contact the repository for terms of use.

Topic:: Pharmacy Search this; Sun Dance Search this; Schools Search this; Camps Search this; Dance Search this

Genre/Form:: Postcards; Photographs

Citation:: Photo Lot 92-3, Eugene O. Leonard photograph collection relating to Pocatello and Fort Hall, Idaho, National Anthropological Archives, Smithsonian Institution

Identifier:: NAA.PhotoLot.92-3

Archival Repository:: National Anthropological Archives

EDAN-URL:: ead_collection:sova-naa-photolot-92-3

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Gaines Ruger Donoho papers

Creator:: Donoho, Gaines Ruger, 1857-1916 Search this

Names:: Appian, Adolphe, 1818-1898 Search this; Lalanne, Maxime, 1827-1886 Search this

Extent:: 1 Linear foot

Type:: Collection descriptions; Archival materials; Prints; Sketches; Photographs

Date:: 1864-1915

Summary:: The papers of landscape painter Gaines Ruger Donoho measure a linear foot and date from 1864 to 1915. Found within the papers are certificates of award; invitations and correspondence; a clipping; photographs, including two cyanotypes of Donoho; artwork by Donoho; a wedding dinner sketch in honor of Donoho's wedding signed by 19 friends, including Kenyon Cox and William Merritt Chase; and etchings from other artists, including Adolphe Appian and Maxime Lalanne.

Scope and Contents:: The papers of landscape painter Gaines Ruger Donoho measure a linear foot and date from 1864 to 1915. Found within the papers are certificates of award; invitations and correspondence; a clipping; photographs, including two cyanotypes of Donoho; artwork by Donoho; a wedding dinner sketch in honor of Donoho's wedding signed by 19 friends, including Kenyon Cox and William Merritt Chase; and etchings from other artists, including Adolphe Appian and Maxime Lalanne.

Arrangement:: The collection is arranged as 1 series.

Series 1: Gaines Ruger Donoho papers, 1864-1915 (1 linear foot; Box 1, OV 2-4, ODD 5)

Biographical / Historical:: Landscape painter Gaines Ruger Donoho (1857-1916) lived and worked in East Hampton, Long Island in New York City. Influenced by the Barbizon School, Donoho studied at the Art Students League with Walter Shirlaw and R. Swain Gifford and studied in Paris from 1879 to 1887. In 1889 he was awarded a silver medal at the University Exposition in Paris and a gold medal at the 1915 Panama Pacific International Exhibition. Donoho married Matilda Ackley Donoho in 1894 and died in New York City in 1916.

Provenance:: The Gaines Ruger Donoho papers were donated by John R. Hopkins in 1977 via Jane Richards of Hirschl and Adler Galleries in New York.

Restrictions:: Use of original papers requires an appointment.

Rights:: The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:: Landscape painters Search this

Topic:: Printmakers Search this

Genre/Form:: Prints; Sketches; Photographs

Citation:: Gaines Ruger Donoho papers, 1864-1915. Archives of American Art, Smithsonian Institution.

Sponsor:: Funding for the processing of this collection was provided by the Terra Foundation for American Art.

Identifier:: AAA.donogain

See more items in:: Gaines Ruger Donoho papers

Archival Repository:: Archives of American Art

EDAN-URL:: ead_collection:sova-aaa-donogain

William Merritt Chase papers

Creator:: Chase, William Merritt, 1849-1916 Search this

Names:: Art Club of Philadelphia Search this; Art Students League (New York, N.Y.) -- Faculty Search this; Shinnecock Summer School of Art -- Faculty Search this; De Voll, F. Usher, 1873-1941 Search this

Extent:: 0.3 Linear feet

Type:: Collection descriptions; Archival materials; Scrapbooks; Photographs

Date:: circa 1890-1964

Summary:: The papers of New York painter and art instructor, William Merritt Chase, measure 0.3 linear feet and date from circa 1890 to 1964. Papers include a resolution of the Art Club of Philadelphia on Chase's death, letters, writings by Chase consisting of typescripts of lectures and lecture notes, blank postcards primarily depicting reproductions of artwork, a scrapbook, and photographs of Chase, his family, homes, and studios, and photographs of works of art.

Scope and Contents:: The papers of New York painter and art instructor, William Merritt Chase, measure 0.3 linear feet and date from circa 1890 to 1964. Papers include a resolution of the Art Club of Philadelphia on Chase's death, letters, writings by Chase consisting of typescripts of lectures and lecture notes, blank postcards primarily depicting reproductions of artwork, a scrapbook, and photographs of Chase, his family, homes, and studios, and photographs of works of art.

Letters include a photocopy of a 1901 letter signed by 28 students of the Shinnecock Summer School thanking Chase for a painting; a 1903 postcard to Mr. Harold R. Shiffer from his aunt; a 1912 letter to Chase signed by 32 pupils of the Art Students League thanking him for his efforts on their behalf and acknowledging his "qualities of sympathy, interest, and an understanding of our individual needs;" a 1915 note from an unidentified writer; a 1920 letter to Chase's wife Alice, from Gertrude Abbey, wife of Edwin Austin Abbey, referencing a tile possibly created by Edwin Abbey that Mrs. Chase owns; a 1935 postcard to Chase's daughter Helen from an unidentified writer; and a 1964 letter to Helen Storm from Ala Story in which Story describes a Chase exhibition that he is organizing and apologizes for having given a sketchbook of drawings owned by Helen to the Morgan Library.

Writings include 4 sets of lecture notes (one labeled as being notes for a lecture at Shinnecock), which are a combination of annotated typescripts and handwritten pages, and a typescript of a 1906 "Talk on the Old Masters by Mr. Chase" for the New York School of Art. Also found is a notebook with handwritten notes on a talk Chase gave to students in Philadelphia, presumably at the Pennsylvania Academy of Fine Arts.

Writings by others consist of a six-page typescript entitled "Reminiscences of a Student," by F. Usher De Voll, describing his experiences of Chase as a teacher.

Postcards (blank) include 3 reproductions of works of art by Chase, 8 reproductions of works of art by other artists, and 2 scenic views.

A Chase family scrapbook consists of mounted prints, primarily cyanotypes, that document Chase's travels to Rome, Milan, Gibraltar and the Loire Valley, and visits to major monuments, and also includes images of Chase and his family at leisure during their travels, as well as five family portraits.

Photographs of the Chase family include one of Chase with his son, Dana, and one of Chase with his wife, Alice, both undated. Other family members and friends are generally unidentified but do include Virginia Gerson and possibly Alice Gerson. Also found are four portraits of Chase, four photographs of Chase in his studio, a copy print of students at the Shinnecock Art School in circa 1895, and a copy print of an 1880 Tile Club trip up the Hudson River. In addition to circa 1960 copy prints, photographs include a variety of vintage prints such as albumen cabinet cards, silver gelatin prints, and a tintype.

Arrangement:: Due to the small size of the collection, the papers are arranged as 1 series.

Series 1: William Merritt Chase Papers, circa 1890-1964 (0.3 linear feet.; Box 1, OV 2)

Biographical / Historical:: William Merritt Chase (1849-1916) was one of America's most prominent painters and art instructors in New York, New York and Shinnecock, Long Island, during the late 19th century. One of the first Impressionist landscape painters in the U. S, Chase was also a highly accomplished portrait and still life painter.

Born in Indiana, Chase lived in New York and St. Louis, Missouri, before traveling to Europe and studying at the Royal Academy in Munich. After returning to New York in 1878, he taught at the Art Students League until 1896. His studio in the Tenth Street Studio building became an important gathering place for artists, students and patrons. Chase was also a member of the Tile Club whose members shared an interest in the decorative arts and sought to have their designs translated into ceramic tiles, from 1877-1887.

Chase became one of the most important teachers of American artists around the turn of the century. He opened the Shinnecock Hills Summer Art School in 1891 and taught there until 1902, living in a house at Shinnecock designed by Stanford White. In 1896 he opened the Chase School of Art and also taught at the Brooklyn Art Association in 1887, and 1891-1896, and the Pennsylvania Academy of Fine Arts from 1896-1909.

Chase was a member of the National Academy of Design, and was president of the Society of American Artists from 1885 to 1895.

Separated Materials:: The Archives of American Art also holds microfilm of material lent for microfilming. Reel N69-115 includes an additional family scrapbook, undated, containing photographs of Chase, his wife and children, a notice of sale of the Chase house in Shinnecock Hills, N.Y. designed by Stanford White, and photographs of the house. Found on reel N69-119 are circa two hundred photographs of Chase at work, his wife, his studios in Philadelphia and on 5th Avenue and 10th Street New York City, and numerous snapshots of characters in a tableau vivant that include his family, friends, Mary S. Moore Cross, and others. Reel N69-137 contains letters from Chase to his wife during his travels abroad, one note from John Singer Sargent requesting the use of Chase's studio for the famous party Sargent gave for Isabella Stewart Gardner in 1890, and a six-page typescript, "Reminiscences of a Student," by F. Usher De Voll, and photographs of Chase's studio. Loaned materials were returned to the lenders and are not described in the collection container inventory.

Provenance:: The papers were received in a series of accessions between 1969 and 2010. A portion was loaned for microfilming by Robert S. Chase and Chapellier Galleries in 1969. Roger Storm, the widower of Chase's daughter Helen, donated lectures and speeches, a 1912 letter, and photocopies of a dinner menu and photos of artwork in 1969. Art collector Fred D. Bentley gave photographic copy prints of Chase's summer home, studio and art school. D. Frederick Baker, the author of the Chase catalogue raisonné, gave two letters, two postcards, the Chase family scrapbook, vintage photographs, and blank postcards in 2010. Baker received the material from Chase's estate via Chase's grandson, Jackson Case Storm.

Restrictions:: Use of original papers requires an appointment.

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Occupation:: Art teachers -- New York (State) -- New York Search this

Topic:: Art -- Study and teaching Search this; Painters -- New York (State) -- New York Search this; Art, American Search this; Artists' studios -- New York (State) -- New York -- Photographs Search this